This press release is to confirm that financial backers of the film, “Sins of a Living Woman” have officially dismissed Kola Boof from her position as the film’s star . . . but are retaining her services as an advisor for the project. A replacement star was named.

Spanish investors confirmed that they cannot get insurance for Kola Boof . . . who has just become the target of a fatwa, an Islamic contract for assassination that is set against Muslims whenever they blaspheme Islam. Although Boof hasn’t been Muslim since she was 10 years old, the fatwa was issued via Islamic decree by Sudanese government officials Mahdi Mohammed and Gamal Ibrahaim.

For obvious reasons, investors cannot back Kola Boof.

Kola Boof was born in Sudan, born a Sunni Muslim (and later raised as a Baptist by adoptive Black American parents), but has been severely and unapologetically critical of Sudan’s Arab Islamic government (which enslaves Black African non-Muslim tribes) and the Muslim faith–as she remembers it in Africa. Boof has also rejected the Christian religion, publicly calling it “whitewashed by the Caucasoids”.

Russom Damba (the film’s intermediate producer) is announcing that the project will go forward with renowned actress N’Bushe Wright (star of Blade) in the role of the Nigerian woman stoned to death and Amistad’s Djimon Hansou as the forbidden lover who gets to walk away. The film is also going to showcase, in major roles, Alfre Woodard, Akosua Busia, Lonette Mckee and will be produced by Alicia Banks, a popular radio personality and controversial womanist columnist from Atlanta.

Former journalist Ajowa Ifateyo and the N.Y. Sudanese People’s Liberation Army (in association with the London branch of the army) are now planning a major response to the fatwa declared on Kola Boof…the details of which are not available at this time.

The usually vocal Kola Boof, herself, is not making any statements, but is expected to resurface in November. Boof did give an interview with Janine Howard regarding the fatwa and other matters on Sept. 27th that can be read from this link:

“When I cleaned toilets, I only saw it as work to give me the means to achieve my goals. Of course I hated it,” the Sudanese supermodel exclaimed. “Waking up at 4 a.m. when it’s freezing cold is not easy, followed by Uni, coursework and my evening baby-sitting job, but it made me disciplined and gave me a huge sense of self-appreciation.”

Born the seventh of nine children Alek, meaning ‘black-spotted cow’ (one of Sudan’s most treasured cows, which represents good luck), never dreamt of becoming a model. Both in her motherland, where she was considered to be inferior due to her Dinka tribe (dubbed as ‘zurqa’, meaning dirty black) and again in Britain when she arrived in 1991, she faced hostility.Jamaica-Gleaner

According to the author, this society has historically exerted considerable pressure on black females to fit into one of a handful of stereotypes, primarily, the Mammy, the Matriarch or the Jezebel. The selfless Mammys behavior is marked by a slavish devotion to white folks domestic concerns, often at the expense of those of her own familys needs. By contrast, the relatively-hedonistic Jezebel is a sexually-insatiable temptress. And the Matriarch is generally thought of as an emasculating figure who denigrates black men, ala the characters Sapphire and Aunt Esther on the television shows Amos and Andy and Sanford and Son, respectively.

Professor Perry points out how the propagation of these harmful myths have served the mainstream culture well. For instance, the Mammy suggests that it is almost second nature for black females to feel a maternal instinct towards Caucasian babies. .

As for the source of the Jezebel, black women had no control over their own bodies during slavery given that they were being auctioned off and bred to maximize profits. Nonetheless, it was in the interest of plantation owners to propagate the lie that sisters were sluts inclined to mate indiscriminately.

This book explodes several myths: that selling sex is completely different from any other kind of work, that migrants who sell sex are passive victims and that the multitude of people out to save them are without self-interest. Laura Agustín makes a passionate case against these stereotypes, arguing that the label ‘trafficked’ does not accurately describe migrants’ lives and that the ‘rescue industry’ serves to disempower them. Based on extensive research amongst both migrants who sell sex and social helpers, Sex at the Margins provides a radically different analysis. Frequently, says Agustin, migrants make rational choices to travel and work in the sex industry, and although they are treated like a marginalised group they form part of the dynamic global economy. Both powerful and controversial, this book is essential reading for all those who want to understand the increasingly important relationship between sex markets, migration and the desire for social justice.

“Sex at the Margins rips apart distinctions between migrants, service work and sexual labour and reveals the utter complexity of the contemporary sex industry. This book is set to be a trailblazer in the study of sexuality.”Lisa Adkins, University of London

Tracy K. Smith, author of Life on Mars has been selected as the winner of the 2012 Pulitzer Prize for Poetry. In its review of the book, Publishers Weekly noted the collection’s “lyric brilliance” and “political impulses [that] never falter.” A New York Times review stated, “Smith is quick to suggest that the important thing is not to discover whether or not we’re alone in the universe; it’s to acceptor at least endurethe universe’s mystery. . . . Religion, science, art: we turn to them for answers, but the questions persist, especially in times of grief. Smith’s pairing of the philosophically minded poems in the books first section with the long elegy for her father in the second is brilliant.” Life on Mars follows Smith’s 2007 collection, Duende, which won the James Laughlin Award from the Academy of American Poets, the only award for poetry in the United States given to support a poet’s second book, and the first Essence Literary Award for poetry, which recognizes the literary achievements of African Americans.

The Bodys Question (2003) was her first published collection. Smith said Life on Mars, published by small Minnesota press Graywolf, was inspired in part by her father, who was an engineer on the Hubble space telescope and died in 2008.